Artistic Director Executive DirectorJanet Eilber LaRue Allen

The CompanyTadej Brdnik • Katherine Crockett • Jennifer DePalo

Carrie Ellmore-Tallitsch • Maurizio Nardi • Miki Orihara Blakeley White-McGuire

Lloyd Knight

Jacqueline Bulnes • Sevin Ceviker • Jacquelyn Elder Mariya Dashkina Maddux • Samuel Pott • Ben Schultz

Oliver Tobin

Heather McGinley

Rehearsal DirectorDenise Vale

Major support for the Martha GrahamDance Company is provided by

National Endowment for the ArtsNew York City Department of Cultural Affairs

New York State Council on the Arts

The Artists employed in this production are members of theAmerican Guild of Musical Artists AFL-CIO.

Copyright to all dances except Lamentation Variations is held by theMartha Graham Center of Contemporary Dance. All rights reserved.

This presentation of Essential Graham:Classics from the Martha Graham Dance

Company was made possible by theNational Endowment for the Arts’

American Masterpieces: Dance Initiative,administered by the New England

Foundation for the Arts.

1Essential Graham: Classics from the Martha Graham Dance Company

Essential Graham:Classics from the MarthaGraham Dance Company

April 20, 2010

Founding Partner

Martha Graham, Erick Hawkins and the Martha Graham Dance Companyin Martha Graham's “Appalachian Spring” Courtesy of the Library of Congress

Essential Graham: Classics from the Martha Graham Dance Company2

PRELUDE AND REVOLT: DENISHAWN TO GRAHAMArranged by Janet Eilber

Lighting by Judith M. DaitsmanText by Janet Eilber and Jeffrey Sweet

Narrator Janet Eilber

I. Montage of Three Denishawn-Style Solos

The Incense (excerpt)Choreography and Costume by Ruth St. Denis

Premiere: March 22, 1906, Hudson Theater, New York City

Carrie Ellmore-Tallitsch

Gnossienne (A Priest of Knossos) (excerpt)Choreography by Ted Shawn

Music by Erik Satie†

Premiere: December 17, 1919, Egan Little Theatre, Los Angeles, CA

Tadej Brdnik

†Gnossienne No. 1

Tanagra (excerpt)Choreography by Martha Graham

Premiere: April 18, 1926 48th Street Theater, New York City

Miki Orihara

II. Serenata Morisca

Choreography by Ted ShawnReconstructed by Martha Graham

Costumes by Martha Graham after Pearl WheelerMusic by Mario Tarenghi†

Lighting by Thomas Skelton

Premiere: 1916, performed by Martha Graham on Denishawn tours1921–1923 and in the Greenwich Village Follies 1923–1925

Jennifer DePalo

†Serenata, op. 13, adapted by Jonathan McPhee

III. Lamentation

Choreography and Costume by Martha GrahamMusic by Zoltán Kodály†

Original lighting by Martha GrahamAdapted by Beverly Emmons

Premiere: January 8, 1930, Maxine Elliott’s Theatre, New York City

Katherine Crockett

This presentation of Lamentation has been made possible by a giftfrom Francis Mason in honor of William D. Witter. Additional supportwas provided by the Harkness Foundation for Dance.

†Neun Klavierstücke, op. 3. no. 2

IV. Steps in the Street

Devastation—Homelessness—Exile

Choreography and Costumes by Martha GrahamMusic by Wallingford Riegger†

Original lighting by Jean RosenthalLighting for reconstruction by David Finley

Premiere: December 20, 1936, Guild Theatre, New York City

Miki Orihara

Jacqueline Bulnes Sevin Ceviker Katherine CrockettJennifer DePalo Jacquelyn Elder Carrie Ellmore-Tallitsch

Mariya Dashkina Maddux Heather McGinley Blakeley White-McGuire

‘Steps in the Street’ was reconstructed by Yuriko and Martha Graham fromthe Julien Bryan film.

†Finale from New Dance, Opus 18b, used by arrangement with AssociatedMusic Publishers, Inc., publisher and copyright owner.

Recordings of Gnossienne and Serenata Morisca by Patrick Daugherty.

All images courtesy of or coordinated by Martha Graham Resources.

Tonight’s Performance

Essential Graham: Classics from the Martha Graham Dance Company 3

LAMENTATION VARIATIONSChoreography by Richard Move,

Larry Keigwin, and Bulareyaung PagarlavaMusic by DJ Savage, Frederic Chopin, and Gustav Mahler†

Lighting by Beverly EmmonsConceived by Janet Eilber

Premiere: September 11, 2007, Joyce Theatre, New York City

Lamentation Variations is an event which was conceived in 2007 tocommemorate the anniversary of 9/11. The work is based on a filmfrom the early 1930s of Martha Graham dancing movements from herthen new, and now iconic, solo, Lamentation. The choreographerswere each invited to create a movement study in reaction to theGraham film for the current company of Graham dancers.

Pagarlava Variation: Mariya Dashkina Maddux,Tadej Brdnik, Lloyd Knight,Maurizio Nardi

Move Variation: Katherine Crockett

Keigwin Variation: Full Company

Lamentation Variations was commissioned by the Martha GrahamCenter with support from Francis Mason.

† Savage (Richard Move): “Ballet for Martha”, based on material fromSymphony No.5 by Ludwig van Beethoven; Chopin: Nocturne in F Sharp, Op.15No.2; Mahler: “Die zwei blauen Augen von meinem Schatz”, from Lieder eienesfahrenden Gesellen

INTERMISSION

EL PENITENTEChoreography and Costumes by Martha Graham

Music by Louis HorstSet by Isamu Noguchi

Original lighting by Jean RosenthalAdapted by Beverly Emmons

Premiere: August 11, 1940, College Theatre, Bennington, Vermont

The penitents of the American Southwest are a sect which believes inpurification from sin through severe penance. Even today, they enacttheir ancient rites, culminating in the Crucifixion. The dance bears nofactual relationship to these practices but is presented as a story told

after the manner of old mystery plays. Three figures enter, assumetheir characters, and perform as a group of players. The action is divid-ed by a return to the entrance theme. The Festival Dance at the endis a version of a popular dance of celebration with none of the ritual-istic content of the preceding scenes.

Penitent Ben Schultz

Christ Figure Maurizio Nardi

Mary as Virgin, Magdalen, Mother Blakeley White-McGuire

DIVERSION OF ANGELSChoreography and Costumes by Martha Graham

Music by Norman Dello Joio†Original lighting by Jean Rosenthal

Adapted by Beverly Emmons

Premiere: August 13, 1948, Palmer Auditorium, New London, CT

Martha Graham once described Diversion of Angels as three aspectsof love: the couple in white represents mature love in perfect balance;red, erotic love; and yellow, adolescent love. The dance follows nostory. Its action takes place in the imaginary garden love creates foritself. The ballet was originally called Wilderness Stair.

“It is the place of the Rock and the Ladder, the raven, the blessing, thetempter, the rose. It is the wish of the single-hearted, the undivided;play after the spirit’s labor; games, flights, fancies, configurations ofthe lover’s intention; the believed Possibility, at once strenuous andtender; humors of innocence, garlands, evangels, Joy on theWilderness Stair, diversion of angels.” – Ben Belitt

The Couple in White Carrie Ellmore-TallitschSamuel Pott

The Couple in Red Jacqueline BulnesBen Schultz

The Couple in Yellow Jennifer DePaloTadej Brdnik

Sevin Ceviker Jacquelyn Elder Mariya Dashkina MadduxHeather McGinley Lloyd Knight

†Used by arrangement with Carl Fischer, Inc., publisher and copyright owner.

Tonight’s Performance (continued)

Essential Graham: Classics from the Martha Graham Dance Company4

PRELUDE AND REVOLT: DENISHAWN TO GRAHAM (1906–1936)Martha Graham came to the Denishawn School as a student in 1916 andperformed with the group until 1924. Prelude and Revolt is a suite ofdances that traces the emergence of Graham’s unique theater anddistinctive movement vocabulary from these Denishawn beginnings to thestark, explosive imagery of “Steps in the Street” from 1936.

A trio made up of solo works by Ted Shawn, Ruth St. Denis, and MarthaGraham sets the stage for Prelude and Revolt. This montage includesexcerpts from Gnossienne (1917), Tanagra (1926) and Incense (1906).Martha Graham would have undoubtedly seen Miss Ruth perform Incense,as it remained a signature work throughout her long career. Its evocationof private ritual, as well as its dramatic use of stage effects, surelyinterested the young Graham. This influence can be seen in Tanagra, oneof Graham’s earliest compositions. Ted Shawn’s choreography drew uponritual as well. Gnossienne, also known as A Priest of Knossos, was inspiredby a series of bas reliefs depicting a ritual to the Snake Goddess from theTemple of Knossos in Crete.

The Denishawn-style is full force in Serenata Morisca (1916), the nextdance in this suite. The dance is best known for its quick turns, high kicksand fiery rhythms. The dancer is dressed in a tight fitting bodice and anankle length skirt, weighted to ensure that the folds of the skirt will swingout as the dancer turns, making the movement of the fabric an integral partof the choreography.

By 1930, when Graham made Lamentation, she was in revolt against herDenishawn past, against ballet, and against the conventions of theatricality.Lamentation is performed almost entirely from a seated position, with thedancer encased in a tube of purple jersey. The diagonals and tensionsformed by the dancer’s body struggling within the material create a movingsculpture, a portrait that presents the very essence of grief. The fabric isagain integral to the choreography, but in ways that Ruth St. Denis couldnever have foreseen.

“Steps in the Street” (1936) was a response to contemporary problemsthreatening the world, the rise of fascism in Europe. This dance required anew vocabulary, one that Graham had been developing over the previousdecade. The female body is cast as an instrument of force; joints, muscles,and sinews at the ready. The dancers in “Steps in the Street” are preparedto speak out with an expressive vocabulary in order to make an impactupon a modern world.

LAMENTATION VARIATIONSLamentation Variations is an event that was originally conceived tocommemorate the anniversary of 9/11. It was premiered on that date in2007. The work opens with a film from the early 1930s of Martha Graham.

We see her dancing movements from her then new, and now iconic, solo,Lamentation. The variations that follow were developed under specificcreative conditions by choreographers Richard Move, Larry Keigwin, andBulareyaung Pagarlava. Each was asked to create a spontaneouschoreographic sketch of their reaction to the Graham film, and wasrequired to adhere to the following conditions: 10 hours of rehearsal, publicdomain music or silence, basic costumes and lighting design. Though itwas planned to be performed on only one occasion, the audience receptionfor Lamentation Variations was such that it has been added to thepermanent repertory of the Martha Graham Dance Company.

EL PENITENTE (1940)El Penitente was first performed in 1940 at Bennington College in Vermont,part of the renowned Bennington Festival. While the title refers to a sect ofSouthwestern American Indians that practiced purification from sin throughsevere penance, the dance itself bears no direct relationship to thesepractices. Constructed in the form of a play within a play, the dancepresents a series of episodes from the Bible as enacted by a group ofstrolling players.

On first viewing, the critic Walter Terry described the dance as a “dramaticritual in which the figures of the Penitent, Christ, and Mary appear asleading characters. … simple and naïve with great dramatic episodes fromthe Bible retold with childlike reverence by the folk performers.” As originallycast, Martha Graham was the threefold Mary: Mary as Virgin, Magdalene,and Mother. Erick Hawkins was the Penitent, and Merce Cunningham wasthe Christ figure. Louis Horst composed the score for the dance (the last hecomposed for Graham), and Arch Lauterer created the original set, whichwas subsequently redesigned by Isamu Noguchi. —ELLEN GRAFF

DIVERSION OF ANGELS (1948)Diversion of Angels, originally titled Wilderness Stair, premiered at thePalmer Auditorium of Connecticut College on August 13, 1948. The title, aswell as a set piece designed by Isamu Noguchi suggestive of desert terrain,was discarded after the first performance, and the dance was reconceivedas a plotless ballet. Diversion of Angels is set to a romantic score byNorman Dello Joio and takes its themes from the infinite aspects of love.The Couple in Red embodies romantic love and “the ecstasy of thecontraction”; the Couple in White, mature love; and the Couple in Yellow, aflirtatious and adolescent love.

Martha Graham recalled that when she first saw the work of the modernartist Wassily Kandinsky, she was astonished by his use of color, a boldslash of red across a blue background. She determined to make a dancethat would express this. Diversion of Angels is that dance, and the Girl inRed, dashing across the stage, is the streak of red paint bisecting theKandinsky canvas. —ELLEN GRAFF

Program Notes

Essential Graham: Classics from the Martha Graham Dance Company 5

Martha Graham is recognized as a primal artistic force of the 20thCentury alongside Picasso, Stravinsky, James Joyce, and Frank LloydWright. In 1998 TIME Magazine named Martha Graham as the “Dancerof the Century,” and People Magazine named her among the female“Icons of the Century.” As a choreographer, she was as prolific as shewas complex. She created 181 ballets and a dance technique that hasbeen compared to ballet in its scope and magnitude. Many of the greatmodern and ballet choreographers have studied the Martha GrahamTechnique or have been members of her company.

Martha Graham’s extraordinary artistic legacy has often beencompared to Stanislavsky’s Art Theatre in Moscow and the GrandKabuki Theatre of Japan, for its diversity and breadth. Her legacy isperpetuated in performance by the members of the Martha GrahamDance Company and Graham II (formerly, the Martha GrahamEnsemble), and by the students of the Martha Graham School ofContemporary Dance.

In 1926, Martha Graham founded her dance company and school, livingand working out of a tiny Carnegie Hall studio in midtown Manhattan. Indeveloping her technique, Martha Graham experimented endlessly withbasic human movement, beginning with the most elementalmovements of contraction and release. Using these principles as thefoundation for her technique, she built a vocabulary of movement thatwould “increase the emotional activity of the dancer’s body.” MarthaGraham’s dancing and choreography exposed the depths of humanemotion through movements that were sharp, angular, jagged, anddirect. The dance world was forever altered by Martha Graham’s vision,which has been and continues to be a source of inspiration forgenerations of dance and theatre artists.

Martha Graham’s ballets were inspired by a wide variety of sources,including modern painting, the American frontier, religious ceremonies

of Native Americans, and Greek mythology. Many of her most importantroles portray great women of history and mythology: Clytemnestra,Jocasta, Medea, Phaedra, Joan of Arc, and Emily Dickinson.

As an artist, Martha Graham conceived each new work in its entirety —dance, costumes, and music. During her 70 years of creating dances,Martha Graham collaborated with such artists as sculptor IsamuNoguchi; actor and director John Houseman; fashion designers Halston,Donna Karan and Calvin Klein; and renowned composers includingAaron Copland, Louis Horst (her mentor), Samuel Barber, WilliamSchuman, Carlos Surinach, Norman Dello Joio, and Gian Carlo Menotti.Her company was the training ground for many future modernchoreographers, including Merce Cunningham, Paul Taylor, and TwylaTharp. She created roles for classical ballet stars such as MargotFonteyn, Rudolf Nureyev, and Mikhail Baryshnikov, welcoming them asguests into her company. In charge of movement and dance at TheNeighborhood Playhouse, she taught actors including Bette Davis, KirkDouglas, Madonna, Liza Minnelli, Gregory Peck, Tony Randall, AnneJackson, and Joanne Woodward how to use the body as an expressiveinstrument.

Her uniquely American vision and creative genius earned her numeroushonors and awards such as the Laurel Leaf of the American ComposersAlliance in 1959 for her service to music. Her colleagues in theater, themembers of the International Alliance of Theatrical Stage EmployeesLocal One, voted her the recipient of the 1986 Local One CentennialAward for Dance, not to be awarded for another 100 years. In 1976,President Gerald R. Ford bestowed upon Martha Graham the UnitedStates’ highest civilian honor, the Medal of Freedom, and declared hera “national treasure,” making her the first dancer and choreographer toreceive this honor. Another Presidential honor was awarded MarthaGraham in 1985 when President Ronald Reagan designated her amongthe first recipients of the United States National Medal of Arts.

About Martha Graham

Founded in 1926 by dancer and choreographer Martha Graham, theMartha Graham Dance Company is the oldest and most celebratedcontemporary dance company in America.

Since its inception, the Martha Graham Dance Company has receivedinternational acclaim from audiences in over 50 countries throughoutNorth and South America, Europe, Africa, Asia, and the Middle East.The Company has performed at the Metropolitan Opera, Carnegie Hall,the Paris Opera House, Covent Garden, and the John F. Kennedy Center

for the Performing Arts, as well as at the base of the Great Pyramids ofEgypt and in the ancient Herod Atticus Theatre on the Acropolis inAthens, Greece.

“One of the great companies of the world,” according to AnnaKisselgoff, former chief dance critic of The New York Times, the MarthaGraham Dance Company has been lauded by critics throughout theworld. Alan M. Kriegsman of The Washington Post referred to theCompany as “one of the seven wonders of the artistic universe.”

About the Company

Essential Graham: Classics from the Martha Graham Dance Company6

JANET EILBER (Martha Graham Center Artistic Director) has been theCenter’s artistic director since 2005. Her direction has focused oncreating new forms of audience access to Martha Graham’s masterworks.These initiatives include designing contextual programming, educationaland community partnerships, use of new media, commissions andcreative events such as the Lamentation Variations and Prelude andRevolt. Earlier in her career, as a principal dancer with the Martha GrahamDance Company, Ms. Eilber worked closely with Martha Graham. Shedanced many of Graham’s greatest roles, had roles created for her byGraham, and was directed by Graham in most of the major roles of therepertoire. She soloed at the White House, was partnered by RudolfNureyev, and starred in three segments of Dance in America, and hassince taught, lectured, and directed Graham ballets internationally. Apartfrom her work with Graham, Ms. Eilber has performed in films, ontelevision, and on Broadway directed by such greats as Agnes de Mille andBob Fosse, and has received four Lester Horton Awards for herreconstruction and performance of seminal American modern dance. Shehas served as Director of Arts Education for the Dana Foundation, guidingthe Foundation’s support for Teaching Artist training and contributingregularly to its arts education publications. Ms. Eilber is a Trustee of theInterlochen Center for the Arts. She is married to screenwriter/directorJohn Warren, with whom she has two daughters, Madeline and Eva.

DENISE VALE (Rehearsal Director) began her professional performingcareer with the Martha Graham Dance Company in 1985, attaining therank of principal dancer. Roles performed include the Pioneer Woman inAppalachian Spring, Woman in White in Diversion of Angels, ChorusLeader in Night Journey, Chorus in Cave of the Heart, the Attendant inHérodiade, Leader in the 1980s reconstruction of Steps in the Street, andNight Chant, a ballet created for Ms. Vale by Martha Graham in 1989.Graham solos performed include Lamentation, Frontier, Satyric FestivalSong, and Serenata Morisca.

TADEJ BRDNIK (Principal Dancer) began his dance career in Slovenia. Hehas danced with Battery Dance Company, Avila/Weeks Dance, White OakDance Project, Robert Wilson, and Pick Up Performance Company, as wellas in works of Maurice Béjart, Lucinda Childs, Yvonne Rainer, SusanStroman, Steve Paxton, and Deborah Hay. He has taught extensively in theUnited States and Europe and is on the faculty of the Martha GrahamSchool. Mr. Brdnik is currently Education Director for the Downtown DanceFestival. He is a recipient of the Benetton Dance Award and the EugeneLoring Award and has been with the Company since 1996.

KATHERINE CROCKETT (Principal Dancer) joined the company in 1993,principal since 1996. Ms. Crockett danced as Cate Blanchett’s double inThe Curious Case of Benjamin Button and with Mikhail Baryshnikov in“The Show-Achilles Heels” (choreographer Richard Move). Ms. Crockett

has also had works created for her by Robert Wilson, Lucinda Childs,Martha Clarke, and Susan Stroman and was invited by Vanessa Redgraveto perform Lamentation in Kosovo. She played the mother in MyrtleBeach, a play by Dan Klores, and has performed in The Gala of the Stars,the Cannes Film Festival, VH1/Vogue Fashion Awards, and runway showsof Alexander McQueen and Victoria’s Secret.

JENNIFER DEPALO (Principal Dancer) has also performed as a principalfor Ballet Hispanico and for Buglisi/Foreman Dance. Her roles includesome of those first danced by Martha Graham including the leader inChronicle and the woman in Errand into the Maze. Ms. DePalo is anhonored recipient of the Princess Grace Award for Artistic Excellence andis a certified Gyrotonic® instructor at Studio Riverside.

CARRIE ELLMORE-TALLITSCH (Principal Dancer) graduated cum laudefrom the University of Cincinnati College-Conservatory of Music. Ms.Ellmore-Tallitsch has danced with Dayton Contemporary Dance’s secondcompany, Philadanco, and Pascal Rioult Dance Theatre. She studied atthe Martha Graham School and joined the Martha Graham DanceCompany in 2002. She dances many lead roles including Lilith inEmbattled Garden and Helen of Troy in Clytemnestra.

MAURIZIO NARDI (Principal Dancer), a native of Italy, came to New Yorkwith a scholarship at the Martha Graham School in 1998, when he joinedthe Graham II. He has performed and collaborated with companies in theUnited States, Europe, and India. He made his first appearance with theMartha Graham Dance Company in 2003 and has danced many diverseleading roles from the Stranger in Embattled Garden and the Revivalist inAppalachian Spring to Aegisthus in Clytemnestra.

MIKI ORIHARA (Principal Dancer) joined the Company in 1987. She hasperformed with various other prominent companies and choreographersincluding the Broadway Production of The King and I, Elisa Monte, DanceTroup (Japan), Twyla Tharp, and Robert Wilson. Ms. Orihara was a specialguest artist for Japan’s New National Theater. As an independent artist,she premiered her works in New York and Tokyo. Her teaching credentialsinclude numerous workshops in Japan, Art International in Moscow,Peridance, the Ailey School, New York University, Florida State University,and New National Theater Ballet School; she also works as an assistantfor Yuriko. Ms. Orihara performs with PierGroupDance and Lotuslotus.

BLAKELEY WHITE-MCGUIRE (Principal Dancer) joined the Company in2002. She has performed principal roles in Appalachian Spring, Diversionof Angels, Deep Song, Errand Into the Maze, and Satyric Festival Songamong others. Ms. White-McGuire has had new works created on her bychoreographers Jacqueline Buglisi, Martha Clarke, Sean Curran, RichardMove, Pascal Rioult and the Metropolitan Opera in New York City. Ms.

Biographies

Essential Graham: Classics from the Martha Graham Dance Company 7

White-McGuire holds a BA in dance from SUNY and has taught at the AileySchool, the Martha Graham School, the Neighborhood Playhouse, andThe Actors’ Studio.

LLOYD KNIGHT (Soloist) was born in England, reared in Miami, and trainedat the Miami Conservatory of Ballet. He has a BFA from the New WorldSchool of the Arts, where he worked with many renowned choreographers,including Donald McKayle, Robert Battle, and Michael Uthoff. He alsoperformed leading roles in Jose Límon’s There is a Time, MerceCunningham’s Inlets II, and Donald McKayles’ Rainbow ’Round MyShoulder. Mr. Knight has since performed in The King and I, directed byGuy Stroman. He joined the Martha Graham Dance Company in 2005.

JACQUELINE BULNES (Dancer), from Miami, Florida, began her earlytraining with Edmundo Ronquillo of the Ballet Nacional de Cuba and herMartha Graham training at the New World School of the Arts, where shereceived a BFA with honors. Ms. Bulnes has danced lead roles in Giselle,La Bayadère, Theme and Variations (Balanchine), Push Comes to Shove(Tharp), and Nutcracker. She has received scholarships to American BalletTheatre, Dance Theatre of Harlem and the Martha Graham School, andreceived a Merit Award from the NFAA “ARTS” competition. This is her fifthseason with the Martha Graham Company.

SEVIN CEVIKER (Dancer) is from Istanbul, where she studied ballet at theState Conservatory. She has studied at the schools of Alvin Ailey, PaulTaylor and Martha Graham, where she was awarded a full scholarship.She received her BFA from Marymount Manhattan College with academicexcellence in dance performance. She joined the Company in 2006. Ms.Ceviker has danced with Jamie Bishton Dance, Odanata Dance Project,Labyrinth Dance Theater, Edgar Cortes Dance Theater, and as a lead in thefirst Turkish Broadway musical. She is a certified Gyrotonic® instructor.

JACQUELYN ELDER (Dancer) studied dance at the Palm Beach BalletConservatory, the Alvin Ailey School, and at the Florida State Universitywith Suzanne Farrell and Anthony Morgan. She received full scholarshipsfrom “Florida Bright Futures” and from the Martha Graham School. Ms.Elder is a former member of Gus Giordano Jazz Dance Chicago, Darrah

Carr Dance, Nina Buisson’s Contemporary Move, and Graham II. She isalso a current and founding member of Lehrer Dance.

MARIYA DASHKINA MADDUX (Dancer) was born and raised in Kiev,Ukraine, and moved to the United States in 1999. She received her dancetraining from the Thomas Armour Youth Ballet and the New World Schoolof the Arts, where she graduated with a BFA. Ms. Maddux has performedlead roles in There is a Time and Psalm by Jose Limón and Rainbow’Round My Shoulder by Donald McKayle.

SAMUEL POTT (Dancer) received his BA from the University of California,Berkeley, and has performed with American Repertory Ballet, OaklandBallet and in works by Marius Petipa, Martha Graham, Jose Límon, TwylaTharp, Charles Moulton, and Val Caniparoli. In 2005, Mr. Pott foundedNimbus Dance Works, a company dedicated to building meaningfulconnections between concert dance and community. He received aFellowship in Choreography from the New Jersey State Council on the Artsand is a member artist of the Arts Council’s Arts in Education program. Mr.Pott has taught dance at Rutgers University and is a practitioner of theFeldenkrais Method‰.

BEN SCHULTZ (Dancer), originally from Denver, Colorado, began his dancetraining at age 15. He attended Indiana University where he studied balletand theatre performance and minored in opera. Since leaving Indiana, his

dance credits have included touring with the Tony Award® winningproduction Blast, dancing for the Cleo Parker Robinson Dance Ensemble,Hannah Kahn Contemporary Dance, and Opera Colorado. Mr. Schultz hasalso served as resident choreographer and contemporary dance teacherfor the Arvada Center for the Arts and Humanities in Arvada, Colorado.

HEATHER MCGINLEY (New Dancer) holds a BFA in dance performancefrom Butler University. While at Butler she was featured in works byThaddius Davis, Susan McGuire, and Marek Cholewa. In 2005 and 2006,Ms. McGinley presented three pieces of her own choreography as part ofa Butler Ballet tour of Eastern Europe including St. Petersburg, Russia, andWarsaw, Poland. In 2007 she enrolled in the Martha Graham School andbegan performing with Graham II.

Biographies (continued)

StaffLaRue Allen, Executive Director

Janet Eilber, Artistic DirectorAaron Sherber, Music Director

Beverly Emmons, Lighting DesignerFaye Rosenbaum, General Manager

Denise Vale, Rehearsal DirectorGregory Baird, Development AssociateAnne Posluszny, Production ManagerNicholas Houfek, Lighting Supervisor

Karen Young, Costume SupervisorAllison Duncil, Wardrobe SupervisorTami Alesson, Director of EducationVirginie Mécène, Director of School

Saira McLaren, Center AdministratorSusan Upton, Resources Manager

Melissa Rivero, Associate Resources ManagerAngela Wiele, International Student Advisor

Arnie Apostol, Assistant to the Executive DirectorTadej Brdnik, Manager of Special Projects

Caitlin Orr, School Administrator

RegisseursTadej Brdnik, Donlin Foreman, Linda Hodes, Peggy Lyman,

Miki Orihara, Marni Thomas, Denise Vale

Board of TrusteesJudith Schlosser, ChairInger Witter, President

LaRue Allen, Executive DirectorAmy Blumenthal

Inga GolayLaura GordonLorraine Oler

Patrick LeonardNeila RadtkePaul SzilardCalvin Tsao

Ronald WindischAdam A. Pinsker, Secretary to the Board

Lee Traub, Chair Emerita

North American RepresentationRena Shagan Associates, Inc.

(www.shaganarts.com)

International Representation Paul Szilard Productions, Inc.

Attract Productions(szilardpro@aol.com)

Alumni SearchIf you or someone you know has ever performed with the Martha Graham Dance Company or attended classes at the Martha Graham School,please send us names, addresses, telephone numbers and approximate dates of membership. We will add you to our alumni mailing list andkeep you apprised of alumni events and benefits. Call 212.838.5886 or e-mail info@marthagraham.org.

The Martha Graham Center of Contemporary Dance is a not-for-profit corporation, supported by contributions from individuals, corporations,foundations, and government agencies. Contributions in support of the Martha Graham Center will be gratefully received at the Martha GrahamCenter of Contemporary Dance, Inc., 316 East 63rd Street New York, NY 10065, or visit www.marthagraham.org/contribute.

For more information, visit www.marthagraham.org

Martha Graham Center of Contemporary Dance

8 Essential Graham: Classics from the Martha Graham Dance Company

Up Next“The Power of Community”We are excited to bring together eclectic performances and the uniqueresources of a university – freedom of expression, exploration, andlifelong education – to stretch the imagination and expand artistichorizons. When you join us for the Newman Center Presents season,you create a community that tours together through many expressionsof the human spirit by artists from around the world. The arts connectus both to our neighbors and to new friends continents away. The artsremind us of our shared heritage. The arts give us confidence in our

ability to create and to make sense of our complex world. This seasonwe highlight the fact that art creates community.

American Bluegrass MastersSaturday / May 8For the first time in 50 years, American Bluegrass Masters Tour unitesGrammy® Winner JD Crowe and Grand Ole Opry legend BobbyOsborne with the hottest bluegrass singers and pickers on the planet.

Behind the CurtainJoin us before each Newman Center Presents performance Behindthe Curtain for insight into the artist, the genre or the program for theevening. Tickets are not required for the FREE pre-performance talksand no RSVP is necessary. Most pre-concert talks talk place at

6:30pm in Gates Concert Hall, entering on Orchestra Level East forseating. Below is a list of upcoming speakers for these lectures.

Saturday / May 8 / David Patton / Member of local bluegrass bandSteel Pennies

Give the gift of the arts - gift certificates! Gift Certificates in any amount are available at the Newman CenterBox Office and redeemable for the purchase of tickets for anyperformance of the Newman Center Presents 2009-10 Season.

Perfect for birthdays and anniversaries. The Box Office is openMonday-Friday, 10am to 4pm.

Remember… All Newman Center Presents performances include FREE parking.

Thank youThe Newman Center would like to thank Janet Eilber, Artistic Director for the Martha Graham Center of Contemporary Dance, for leading theBehind the Curtain lecture before this evening’s performance.

Food for ThoughtBefore each Newman Center Presents performance, starting at6:00pm, DU Catering Services will offer a selection of tasty snacks,sandwiches, and salads for purchase in Joy Burns Plaza. So, whetheryou come before the Behind the Curtain lecture or head into the Plazaafter the lecture, you can get a bite to eat before showtime!

Don’t forget – your ticket is for more than admission to aperformance. It’s also equal to a free sandwich! Redeem yourNewman Center tickets at Bruegger’s Bagels on University and Asburyfor a free sandwich (buy one, get one).

9Essential Graham: Classics from the Martha Graham Dance Company

Newman Center MembersYour Annual Membership begins at only $50. By supporting the Newman Center, you play an important role in presenting engagingperformances, bringing music education to thousands and sustaining a landmark facility. Please take a look at our Membership levels andconsider adding a Membership to your Newman Center support. (A portion of your Membership may be tax deductible).

To become a Newman Center Member or for more information about our Membership program, please contact the Newman Center Box Office,Monday – Friday, 10am – 4pm at 303-871-7720, Option 2.

Newman Center Memberships since July 2009

DIAMOND

PLATINUMRobert and Judi Newman

GOLDKevin Fitzpatrick and LonMasonWarren Paul

SILVERBob and Natalie MeskoBarbara NealMr. Stephen SeifertDonald Sicard and DeborahFrate-Sicard

BRONZEJoan Brennan

Kim and Joel ChurchesCatherine ColeBill Ekstrand and Anita CoxCeleste and Jack GrynbergBeverlee Henry and Hon.Robert FullertonDr. Bob and Peggy HickamCarla JoyBette MacDonaldFrances Jean NorrisEd and Jean OnderkoRuth S. SilverPhoebe Ann SmedleyWilliam Stolfus

COPPERCarole and Robert AdelsteinGordon and Teri AppellMike Ballard

Roberta BlancKarin C. BondMr. and Mrs. T. BornheimJane CahnEllie CaulkinsAaron CiszekDavid CorsonMs. BJ CroallRon DouglasKathryn FleetMeghan FooteDiana A. GoldbergYvette M. HuntJerry JohnsonLisa JordanRoss and Vicki KazerMiguel and Yaya LanderSteven LawrenceSeth Lederer

Lelanda LeeTilden NordholmTom and Tina ObermeierWilliam OliverHelen OverhardtRichard and Melissa PaigePeggy and LouPhannenstielDean Prina, M.D.Eli and Adina ReshotkoJenna ReulbachAnn RichardsDonald and KathyRosenkrans In Honor of Robert and JudiNewmanKaren RosenthalPeter and Allyson SawtellMrs. Frances Seifert

Martin ShoreJenene and JimStookesberryPat StradeEva SwankRoger L. TateBrad TobinLouis L. Underbakke, J.D.Tony VigilReda WalshDaisy WeissMr. Waldo L. WilleckeJudy WolfeRuth WolffRozanne and Dale WuerstlFred, Sydnnia WulffDonna and Robert Zupkus

2009-2010 Matching GrantHelp us double our dollars!The Newman Center for the Performing Arts exists because of thegenerous gifts of numerous individuals, foundations and corporations.We are thrilled to announce a challenge grant from the Gay & LesbianFund for Colorado! A portion of the contributions to The NewmanCenter from new donors will be matched and a portion of contributionsfrom current supporters increasing their gifts will be matched.

Donations must be received by June 30 to qualify for matching!

If you’re interested in learning how yourdollars can be doubled, please contact:Kimberly Churches, Assistant Vice Chancellorfor Development, Kimberly.Churches@du.eduor call 303.871.2562

10 Essential Graham: Classics from the Martha Graham Dance Company

Essential Graham: Classics from the Martha Graham Dance Company 11

Newman Center Presents 2010-2011 Season“Legacies”We are excited to bring together eclectic performances and the uniqueresources of a university – freedom of expression, exploration, andlifelong education – to stretch the imagination and expand artistichorizons. When you join us for the Newman Center Presents season, youcreate a community that tours together through many expressions of thehuman spirit by artists from around the world. The arts connect us bothto our neighbors and to new friends continents away. The arts remind usof our shared heritage. The arts open our eyes, our hearts, and ourminds to different expressions of the human experience. This season weexplore artistic legacies. Our theme highlights artists – visionaries andinnovators – who have built upon or broken away from traditions, creatingnew art, new ideas, and new forms responsive to the changing world,inventing new traditions for succeeding generations.

Punch Brothers, featuring Chris ThileThursday / September 30 / 2010Punch Brothers shows include an unpredictable mix of original songswritten by Thile and the band, traditional bluegrass and folk tunes,arrangements of Bach and Mozart, and covers of Radiohead, TheBeatles, The Band, The White Stripes, The Strokes, and multiple othersources. Their style was described by The Times of London asintroducing “bluegrass instrumentation and spontaneity in the stricturesof modern classical.”

“Expands the frontier of an emerging style of what might be calledAmerican country-classical chamber music.” - The New York Times

Paul Taylor Dance CompanySaturday / October 16 / 2010The legendary Paul Taylor Dance Company was last in Denver in 1991.Their return will feature the stunning new work “Brief Encounters” set toDebussy’s “Children’s Corner,” the poetic and virtuosic “BelovedRenegade” set to Poulenc’s “Gloria,” and one of the great Baroque piecesfrom earlier in Taylor’s long and storied career.

“Paul Taylor Dance Company is perhaps the most beloved and respectedmodern dance company in the world, famous for Mr. Taylor’s wit, itssunny expansiveness, its all-American optimism and its occasional foraysinto darkness and gloom.” - Dallas Morning News

Funded in part by the National Dance Project of the New EnglandFoundation for the Arts, with lead funding from the Doris Duke CharitableFoundation and additional funding from the Ford Foundation, theAndrew W. Mellon Foundation, and the Community Connections Fund ofthe MetLife Foundation.

“El último trago,” a tribute to Chavela VargasBuikaWednesday / November 3 / 2010Hailed as the “Flamenco Queen,” Buika is the daughter of politicalrefugees from the African nation of Equatorial Guinea. She grew up in agypsy neighborhood on the Spanish island of Mallorca. The New YorkTimes calls her unique blend of flamenco, jazz, soul and blues,“luminous...magnificent...superb!” As much as she is currently identifiedwith the cante jondo, or deep song, and the copla, and credited withreinventing that classic romantic Spanish style, Buika refuses to definemusic by genre or style.

In Mexico her concerts made a fan and musical godmother out of thelegendary octogenarian songstress Chavela Vargas. The album andshow “El último trago,” are a tribute to this great ranchera singer on her90th anniversary and in the year of the 200th anniversary of Mexicanindependence.

“A Night in Bethlehem,” Holiday Jazz featuringSolveig Slettahjell, vocals, Tord Gustavsen, piano, Sjur Miljeteig, trumpetTuesday / December 7 / 2010Vocals, a muted trumpet, and a piano commanded with a light andevocative touch add up to a nuanced and engaging evening. There areno distracting sleigh bells, no sound effects of trudging through snow, nocheers or chinking glasses, only voice, piano and trumpet. This beautifultrio makes its case simply, during a time often associated with excess.The enjoyment of this evening should persist just like letting snowflakesfall on your tongue and slowly dissolve.

“Guitar Legends,” featuringEliot Fisk and Bill FrisellFriday / January 21 / 2011“Guitar Legends” brings together two extraordinary guitarists, each ofwhose artistic lives is broadly and openly lived. We challenged them tothink about Legacies and give us a program that reflects theirperspectives. Each will play a solo set and then together they’ll playmusic from Bach, Berio, Gershwin, and Frisell.

“It’s hard to find a more fruitful meditation on American music than in thecompositions of guitarist Bill Frisell. Mixing rock and country with jazzand blues, he’s found what connects them: improvisation and a sense ofplay.” - The New York Times

“Eliot Fisk proved once more that he is a connoisseur’s guitarist. Hisprogramming is invariably imaginative, his technique effortless…If youdidn’t know better, you’d think playing the guitar was easy.” – The AtlantaJournal

Essential Graham: Classics from the Martha Graham Dance Company12

Newman Center Presents 2010-2011 Season (continued)A Far Cry, Chamber OrchestraTuesday / February 8 / 2011Hailed by The Boston Globe as “one of Boston’s most promising classicalmusic groups,” A Far Cry is making waves, experimenting with howclassical music is performed and heard. A tightly-knit group of 17 youngprofessional musicians, A Far Cry formed in early 2007, seeking thefreedom and flexibility of a string quartet as well as the power and beautyof an orchestra. Their program for Newman Center Presents ishighlighted by Tchaikovsky’s irreplaceable “Serenade for Strings.”

“A Far Cry has perfected a lush, sweet sound that is achingly alive andemotional.” - Strings Magazine

Aspen Santa Fe BalletSaturday / February 19 / 2011Newman Center Presents favorite Aspen Santa Fe Ballet returns!Nationally renowned as an eclectic, innovative dance company with asolid foundation in classical ballet, Aspen Santa Fe Ballet has made alasting impression with a company of ten versatile, energetic dancersperforming a sophisticated repertoire featuring some of the world’sforemost choreographers.

“If there’s a classically trained company of the future, it’s Aspen Santa FeBallet.” – The Boston Herald

“Spalding Gray: Stories Left to Tell”Friday-Saturday / March 11-12 / 2011Spalding Gray, one of the most revered and irreverent storytellers of ourtime, was celebrated for his autobiographical monologues, filled withobservations, neuroses, fears and joys that resonate deeply withaudiences. Spalding Gray: Stories Left to Tell interweaves those well-lovedstories and monologues with many of his previously unpublished lettersand journal entries in a funny, poignant and life-affirming evening of theater.

"Spalding Gray comes back to life in this wonderful evening... His talent,his love, his despair, all in one heartbreaking package." - Bette Midler

“Like Father, Like Son?” Piano and More featuringJeffrey Kahane and Gabriel KahaneFriday / March 25 / 2011“Like Father, Like Son?” brings together two extraordinary artists from thesame family. We’ve challenged them to think about Legacies within theirown careers and within their family and give us a program that reflectstheir perspectives.

Equally at home at the keyboard or on the podium, Jeffrey Kahane hasestablished an international reputation as a truly versatile artist,recognized for his mastery of a diverse repertoire ranging from Bach,

Mozart and Beethoven to Gershwin, Golijov and John Adams.

Singer, pianist, and composer Gabriel Kahane is at the forefront of ageneration of artists who are reinventing the landscape of music in the21st century. Armed with a “sonorous, mesmerizing baritone” (The NewYorker) and a profound gift for composition, Kahane has found niches inthe indie, classical and theater worlds while effortlessly blurring the linesbetween them.

“1969”Alarm Will SoundSaturday / April 23 / 2011Over 40 years ago, John Lennon from the Beatles and Germancomposer Karlheinz Stockhausen arranged to meet in New York toplan a joint concert. Neither the meeting nor the concert everhappened, but their tantalizing promise is the departure point forAlarm Will Sound’s show “1969.”

“Alarm Will Sound has grabbed the future of classical music and made itnow – merging styles, erasing boundaries, championing experimentationand obviously having fun along the way…. If classical music is to a remaina vital, relevant form that can attract new, young audiences, it needsdaring, exciting groups like Alarm Will Sound.” - The Denver Post

Soledad Barrio and Noche FlamencaFriday / May 6 / 2011Under the direction of Martín Santangelo, the award-winning NocheFlamenca has become Spain’s most successful, and the most authentic,flamenco touring company. Formed in 1993 by Santangelo and hisBessie Award-winning wife, Soledad Barrio, the company regularly toursthroughout the globe.

“I kept hearing ‘corazon di pietra’ in the lyrics: ‘heart of stone.’ You’dhave to have had one not to find these performers totally thrilling.” - UKBallet Magazine

Funded in part by the National Dance Project of the New EnglandFoundation for the Arts, with lead funding from the Doris Duke CharitableFoundation and additional funding from the Ford Foundation, theAndrew W. Mellon Foundation, and the Community Connections Fund ofthe MetLife Foundation.

2010-2011 Season Dates to RememberCurrent Subscribers will be receiving renewal information shortly.May 17 – New Season Subscriptions go on sale.June 14 – Single Tickets go on sale.Season Tickets will be mailed out to Subscribers over the summer.(As always, artists and programs are subject to change.)